Hamlet Outline: Prompt 4

Thesis: To seem to be is to be deceitful, and the playwright has effectively punished all deceptive characters with death. In the play Hamlet, Shakespeare mercilessly critiques those who choose to 'seem' by entangling his characters with their true and false representations to such an extent that the duplicity leads to their demise.

1.      Minimal tears of sorrow are evoked upon the death of Gertrude because Shakespeare wants to condemn the shallow adulteress for her unfaithful relationships.

The possibility of 'seeming' is introduced during a conversation between Gertrude and Hamlet when she asks him what seems to be the matter: "'Seems,' madam? Nay, it is. I know not 'seems'" (I.ii.79).

-Hamlet begins as a very transparent character, flaunting his grief or joy to the world. Less than a month after her husband's death, the queen marries his brother. Hamlet is distraught, and he would like the queen to appear more affected by the loss.

Gertrude is content to sleep with the brother and murderer of her beloved husband if it allows her to remain powerful and rich in the kingdom. While she is selfishly pleasing her whims, she is also trying to appear like a caring and honest mother: "What have I done, that thou dar'st wag thy tongue / In noise so rude against me?" (III.iv.47-48).

Hamlet is aware of the incestuous and corrupt relationship that was formed between Claudius and Gertrude, and he has lost all respect for his mother for seeming to care about him. A good mother would not lie and cheat on her family in such a fashion. Gertrude cannot play both the greedy whore and the loving mother, so she is punished by Hamlet and Shakespeare.

2.      Rosencrantz and Guildenstern are two other characters who seem to be what they are not, and their lack of sincerity leads to unremorseful ends.

The king and queen ask two of Hamlet's closest friends, Rosencrantz and Guildenstern, to spy on him in an effort to determine the cause of his lunacy. They comply by saying, "Both your Majesties / Might, by the sovereign power you have of us, / Put your dread pleasures more into command / Than to entreaty" (II.ii.27-30).

Hamlet quickly perceives the ulterior motive of their visit, and he then dismisses them as friends. Although both friends had little choice over their actions, Shakespeare demonstrates that friendship should be a higher priority than power.

Rosencrantz and Guildenstern are later ordered to babysit Hamlet on a trip to England, and they again comply. Although, Hamlet has outwit the plot and instead changes the directions of the letter: "He should those bearers put to sudden death, / No shriving allowed" (V.ii.51-52).

"Why, man, they did make love to this employment. / They are not near my conscience. Their defeat / Does by their own insinuation grow" (V.ii.64-66).

Ignorant of the situation, Rosencrantz and Guildenstern are killed upon delivery of the message, and there is no one to feel pity for their death. They appeared to be friends with Hamlet; however, their ulterior motive severed their relationship with the prince and cost them their lives.

3.      The disloyal friendship of Rosencrantz and Guildenstern is contrasted to the honesty and faithfulness of Horatio.

The only character with whom Hamlet ever divulges his thoughts or plans is Horatio. When Hamlet has uncovered the plan of his disposal, he tells Horatio of his counter actions: "He that hath killed my king and whored my mother [...] is't not perfect / conscience / To quit him with this arm?" (V.ii.72-77). Hamlet is a lonely man wrapped up in his own insanity. He is so insecure and untrusting that it is miraculous that he feels confident enough to share the inner workings of his plan with Horatio.

During the final massacre, Hamlet pleads for Horatio to not commit suicide so that he may live on to tell the tale: "If thou didst ever hold me in thy heart, / Absent thee from felicity awhile / And in this harsh world draw thy breath in pain / To tell my story" (V.ii.381-84).

The final man entrusted with the story of Hamlet is none other than Horatio. Shakespeare has already killed nine characters, but he makes a point of keeping Horatio alive to reward those who are true and pure. Horatio is unlike any of the other characters in the play because he does not seem to be something he is not.

4.      The duplicitous Claudius puts on a false act of grief for the kingdom, although he begins to suffer when sentiments of guilt and remorse for murdering his brother weld up internally.

Shortly after the death of the King, the new King, Claudius, addresses the court about the passing of their ruler. The false words of sorrow and misgivings deceive the court into believing the honest intentions of Claudius. However, Hamlet senses a shortcoming in the honesty of the king and considers him, "A little more than kin and less than kind" (I.ii.67).

It is not until Claudius begins to feel the pangs of guilt that the audience feels confident in labeling him a murderer.

"O, my offense is rank, it smells to heaven; / It hath the primal eldest curse upon't, / A brother's murder" (III.iii.40-43).

Claudius is a unique character in the sense that the other deceitful characters do not admit to their crimes and express signs of remorse. Although Claudius talks about forgiveness, he is shown none by Shakespeare as Hamlet forces the poisoned drink down his throat. This second attempt at murder only allows more toxins to be injected into his body, and it prevents Claudius the honor of having his final words.

5.      The constant state of turmoil and pain in which Hamlet resides is brought upon by his twisted and entangled character. Throughout the play, the audience has glimpses of Hamlet the grieving son, Hamlet the actor, the performer, and the director. All of these personalities begin to intertwine until Hamlet is no longer able to discern one from the other.

Hamlet begins as a very overt character with clear intentions. However, he is lost, and the ghost of his father gives him a purpose to live. He was hopeful that he may one day feel joy again, but his isolation pushed him father down into disparity. After he realizes that his own friends have been turned against him he pitifully remarks, "Now I am alone. / O, what a rogue and peasant slave am I!" (II.ii.576-77).

Hamlet is a slave to the kingdom, bound by societal expectations. He also feels obligated to revenge the death of the king, shackled by the honor and love he has for his father. The more obligations that arise, the more isolated Hamlet becomes, and the farther he strips away into his lunacy.

The various personalities of Hamlet force him into a constant state of torment. Between the "slings and arrows of outrageous fortune [and the] sea of troubles" (III.i.66-67), Hamlet hopes for death, finality: "a consummation / Devoutly to be wished" (III.i.71-72).

The constant pain and suffering Hamlet endures in his mortal life encourages thoughts of suicide, but he eventually resists the temptation because he is more fearful of the unknown. Hamlet, the most complex character in the play, is not coincidentally the one who suffers most. Shakespeare punishes his deception towards others by placing him in a constant state of agony.

Conclusion: Shakespeare punishes the duplicitous characters in Hamlet by allowing their deception to lead to painful and unforgiving ends.

The play begins, "who's there," and in the end, the only characters that survive are the ones that remained honest and loyal. Through the theme of 'seeming,' Shakespeare is trying to show the audience the peril of deceit and the value of kinship and morality.